To Compete, or Not to Compete: That is the Question
by Edna Landau
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Dear Edna:
I am a young violinist who has been blessed to have solo opportunities. I was wondering if you think I should also consider competing in more public competitions, such as the Yehudi Menuhin Competition, to further my career goals.
Thank you so much for all you do! —Eager to Know
Dear Eager to Know:
Your question is an excellent one, and one that doesn’t have a clear-cut answer. I would like to say from the start that this is something you should definitely discuss with your teacher, who knows your playing better than anybody and can give you the most informed opinion.
Competitions come in many shapes and sizes. Whether they might further your career goals depends on what your particular goals are. Every competition provides an opportunity to prepare certain repertoire to a high level and to perform before a jury of established artists and educators, as well as an audience that might contain individuals who some day may be of help to you. What it might offer beyond that depends on the individual competition.
There are many competitions that take place around the world whose winners walk away with a cash prize and perhaps a handful of local engagements, but the news of their accomplishment never radiates beyond that particular area. This could be because the competition doesn’t have a public relations mechanism set up to disseminate the news, or because the prestige of the jury or quality of the prizes is not of sufficient significance to make the results of the competition noteworthy on an international level. Such competitions may nevertheless prove valuable to a soloist or ensemble who wants to have a “competition experience” in order to see how their nerves hold up and to decide whether they want to participate in a more prominent one.
No one should enter a competition seeking greater exposure unless they feel comfortable with the process and motivated by the potential for artistic growth and for gaining valuable performing experience, regardless of the outcome. If that is a description of you, your next step should be to look at the time of the competition vis-à-vis your personal schedule, the required repertoire, the composition and geographical distribution of the jury, and the nature of the prizes. The first two must feel totally comfortable to you. An internationally renowned jury lends a competition greater prestige, which you benefit from if you win a top prize. It is particularly valuable if the top prizes include concert engagements and possibly a recording. Often the Finals afford a welcome opportunity to perform with a first-class orchestra and conductor. The larger competitions make several rounds available to the public on the Internet, thereby providing an excellent opportunity for you to be seen and heard by countless new potential fans.
There is no question that the Yehudi Menuhin Competition is recognized as one of the world’s premier music competitions. If you win a top prize, your public profile will be enhanced by the publicity generated by the competition and you will gain a vehicle for international exposure that you may not have had previously. If you do not win a top prize, there is not likely to be any damage to your career. Everyone knows that a competition performance represents how you played at one moment in time and that such a performance can be influenced by numerous factors.
In my view, competitions are a useful vehicle for getting an artist’s name out to a broader public and a top prize may play a role in helping the artist obtain management. However, that will only be the case if the artist possesses the musical maturity, technical accomplishment, communication skills and individuality that make them compelling, apart from having won the prize. Many such artists have never entered competitions and have built major careers via word of mouth. The wide reach of social media makes it easier today, than ever, to accomplish. Fortunately, the next Menuhin Competition is not until April 2012, so you have some time to sort this out!
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© Edna Landau 2011
March 10th, 2011 at 11:30 am
These are very valuable words based on many years of finding and supporting young winners of competitions through Ms. Landau’s managerial concerns. As an artist having made the rounds, I might add that there are other components of value for you to enter–whether you win a prize or not. You are put in a position to commit yourself to reach a goal within yourself–which raises your personal standards as a musician and performer. Many competitions require a compulsory work to be learned specifically for the event–and you might just make a new friend in the composer for that matter if you like the music and the composer. The experience may also open doors to you to other performers to know and respect as new colleagues, and, even if you do not win, the conductor (should you reach the final round with orchestra) might love your playing and call upon you someday regardless of the outcome. Many times, the conductor for the final round may have his/her own thoughts and preferences aside from the jury. There may also be presenters of recital series in the audiences online and in the concert venue–you never know who is out there. Much to gain, less to lose. Good luck!
March 31st, 2011 at 12:44 pm
Thank you, Jeffrey, for your very helpful comments.
March 31st, 2011 at 3:50 pm
The Washington International Piano Artists Competition in Washington, DC is for pianists who are not professionals (over 31 years of age) and should be entering the competition for the purpose of developing their personal piano artistry, which is as we recommend. Granted, competitions for young up-coming professionals are different, and will attract a different breed. But it seems to me, as one of the founders of the WIPAC Competition and a pianist myself, that the ultimate intention of a musician should ultimately be the same, no matter what kind of competition is considered. It is somewhat unfortunate that at a young age, musicians are in the midst of developing professional aspirations —- and that it is a little bit like buying a lotto ticket — to enter a competition, hoping or expecting to succeed professionally! One of the winners of the WIPAC competition did enter the Van Cliburn competition at an earlier age. He eventually decided to become a professional doctor, and won our competition at a later age. He has always been a perfectionist, enters to win, comes back if to finish the job if he does not. He is highly competitive and knows exactly what he wants to accomplish. But ultimately, what wins a competition is great talent and artistry, well conveyed on a high level. As musicians we strive for that, and that is why competitions are good for us and for our personal artistic development. There really is no other good reason to enter a competition. Cling to a bad reason if you wish, but, when your luck runs out, suffer the disappointment and serious consequences all alone in the deepest parts of your heart. If your reason is for artistic development, just continue working on it for a lifetime, and, if you are a musician, always plan on professional alternatives that you can manage to live on and support a faimly with, while at the same time, developing your personal artistic goals. It is not an unreasonable compromise and comes with many rewards in the longer term.